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叶芝对日本能剧有其独到的见解。在他看来,能剧不是对人类的模仿,而是对符号的模仿;剧中人物不是圆形的、可靠的,他们的识别力不会加深,他们不过是面具、是木头雕刻出来的装上了四肢的意符;能剧是借助于游走的石壁画实现对宗教的服侍,指向现实世界之外的真理。在能剧中,鲜有材料堪称故事,已然简约至极的动作常常伴随也借助于高潮性的舞蹈,因而戏剧动作旨在引向启示,因而能剧中的动作没有时间的纵深,只是认知的瞬间、变形的刹那,被艺术性地延长了。基于上述观点,本文以《骸骨之梦》、《艾玛的唯一妒忌》、《库胡林之死》等剧作为例,对叶芝的能剧进行了解读。
Yeats has a unique view of Japan’s drama. In his view, the drama is not imitation of humans, but the imitation of symbols; the characters are not circular, reliable, their recognition will not deepen, they are just masks, carved out of wood outfit On the limbs of the meaning; play is by means of walking stone murals to achieve religious services, pointing to the real world outside the truth. In the drama, there is little story called the story, the already extremely simple action often accompanied also by means of the climax of the dance, so the action is directed at the revelation of drama, and therefore can not play the action in depth without time, but cognitive The moment, the moment of deformation, was artistically extended. Based on the above point of view, this essay takes Yiba’s operas as an example, with “Bones of the Dream”, “Emma’s Only Jealousy” and “The Death of Ku Ju Lin” as examples.